Este trabalho é um estudo sobre o poeta Luís de Camões como personagem teatral em três obras: Frei Luís de Sousa, de Almeida Garrett; Que farei com este livro, de José Saramago e Tu, só tu, puro amor..., de Machado de Assis. Em Frei Luís de Sousa será abordado o Camões mítico, pois quando se passa a história, durante o período filipino, este já está morto, só é lembrado através de Telmo. É o símbolo da pátria. No capítulo Camões: uma personagem do imaginário popular, será apresentado o Camões como personagem de Literatura de Cordel, sendo feita uma breve comparação com outras personagens como João Grilo.Em Que farei com este livro? será estudado um Camões totalmente desiludido com a pátria na tentativa de publicar Os Lusíadas. Em Tu só, tu, puro amor..., será visto um Camões romântico sofrendo de amores por uma dama da corte.Em cada uma das obras, estudaremos os aspectos da abordagem do poeta português de acordo com o contexto de época de seus respectivos autores / This is a short research about the poet Luís de Camões as a theatrical character in three plays: Frei Luís de Sousa, by Almeida Garrett; Que farei com este livro, by José Saramago and Tu só, tu, puro amor..., by Machado de Assis.In Frei Luís de Sousa it will be broached the mythical Camões, because when the story goes by, during the Filipe Age in Portugal, the poet is already dead, he is only remembered by Telmo. He is a symbol of the fatherland.In the chapter Camões: a character of the popular imaginary, Camões will be introduced as a character of the Literature of Cordel, making a short comparison with other characters like João Grilo.In Que farei com este livro? it will be studied a Camões totally disappointed with his fatherland when he tries to publish his work Os Lusíadas.In Tu só, tu, puro amor, it will be seen a romantic Camões that is suffering for a lady of the Court.In each one of those works, we are going to study the approach aspects of the portuguese poet, in accordance with the age context of their respective authors

Please note: Editorial Studies works are permanently embargoed in OpenBU. No public access is forecasted for this item. To request private access, please click on the locked Download file link, and fill out the appropriate web form. / This critical edition collects all of R. P. Blackmur's published poems for the first time, gives authoritative texts, and represents the first authoritative critical edition of R. P. Blackmur's poetry. The edition records all variants from Blackmur's published poems in an Apparatus Criticus, and includes the most comprehensive bibliography of Blackmur's publications made to date, containing vastly more entries than any previous bibliography. A critical commentary discusses at length the relationship between Blackmur's criticism and his poetry, and places his poetry within the context of the critical dialogue of the time in which he lived and worked. / 2031-01-01

Missing page 58. Thesis (Ph.D.)--Boston University / From the time of its first publication in 1864 interest in Pearl has steadily increased. In the late nineteenth century the poem, primarily because of its difficult dialect, was a scholar's curiosity. Today, thanks to carefully prepared editions, translations and critical studies by English, American, German, French, Italian, Frisian and Japanese scholars, Pearl has rightfully achieved international renown. A clearly discernible shift in critical attitudes accompanied this increase in interest. Early sentimental views of the poem and its author were gradually supplanted by more accurate historical and textual criticism with the result that recent critical opinion is of one mind in its emphasis upon multiple levels of meaning within the poem. This study also employs a combined historical-textual approach as it interprets Pearl by means of the medieval fourfold method. Beginning with a brief sketch of allegory in pre-Christian times, the origin and development of the fourfold system is chronologically defined and this definition, supplemented by textual criticism, supplies the basis for an understanding of the poem as a product of its time. After a review of previous Pearl scholarship the interpretation also demonstrates how the fourfold method provides a frame of reference in which previous divergent interpretations of the poem can be reconciled. [TRUNCATED]

Este trabalho é um estudo sobre o poeta Luís de Camões como personagem teatral em três obras: Frei Luís de Sousa, de Almeida Garrett; Que farei com este livro, de José Saramago e Tu, só tu, puro amor..., de Machado de Assis. Em Frei Luís de Sousa será abordado o Camões mítico, pois quando se passa a história, durante o período filipino, este já está morto, só é lembrado através de Telmo. É o símbolo da pátria. No capítulo Camões: uma personagem do imaginário popular, será apresentado o Camões como personagem de Literatura de Cordel, sendo feita uma breve comparação com outras personagens como João Grilo.Em Que farei com este livro? será estudado um Camões totalmente desiludido com a pátria na tentativa de publicar Os Lusíadas. Em Tu só, tu, puro amor..., será visto um Camões romântico sofrendo de amores por uma dama da corte.Em cada uma das obras, estudaremos os aspectos da abordagem do poeta português de acordo com o contexto de época de seus respectivos autores / This is a short research about the poet Luís de Camões as a theatrical character in three plays: Frei Luís de Sousa, by Almeida Garrett; Que farei com este livro, by José Saramago and Tu só, tu, puro amor..., by Machado de Assis.In Frei Luís de Sousa it will be broached the mythical Camões, because when the story goes by, during the Filipe Age in Portugal, the poet is already dead, he is only remembered by Telmo. He is a symbol of the fatherland.In the chapter Camões: a character of the popular imaginary, Camões will be introduced as a character of the Literature of Cordel, making a short comparison with other characters like João Grilo.In Que farei com este livro? it will be studied a Camões totally disappointed with his fatherland when he tries to publish his work Os Lusíadas.In Tu só, tu, puro amor, it will be seen a romantic Camões that is suffering for a lady of the Court.In each one of those works, we are going to study the approach aspects of the portuguese poet, in accordance with the age context of their respective authors

Michel Deguy, à l’appui de sa conviction selon laquelle la poésie n’est pas seule, expose dans son traité de poétique une idée à la fois belle et réaliste : « les étoiles sont arrivées ! ».Notre temps connait un risque extrême : celui de l’abandon de l’Idéal, abandon dont les manifestations résident indifféremment dans le discours creux d’une espérance scindée du réel, dans le nihilisme autant que dans les voeux pieux, dans l’indifférence des foules autant que dans les discours de propagande sectaires ou terroristes.Sous ce jour, les étoiles peuvent quelque chose ; les mots de nos jours peuvent encore quelque chose. La poésie se soucie du monde. Mieux : « la poésie n’est pas seule (à s’en soucier) ; elle est la partie « comme-une ». Dans un monde fragmenté qui à son tour fragmente les identités, la poésie est affaire de rapport. « La poésie entre dans un milieu qu’elle ouvre (…) elle est entre ». Dit autrement chez Michaux, la poésie se trouve entre les plis ; la poésie « est vie dans les plis ».Le cantopoème, la ritournelle, le chant dans l’écrit : c’est tout un, et cette unité créée par la musicalité du poème rassemble les brisures. Ce que nous appelons cantopoésie va en réalité au-delà du poème chanté : c’est une aptitude renouée avec la force de vie, le sens, le rêve ; les drames personnels contemporains souvent signent la défaite du symbole collectif : celui de la paix impossible entre les peuples, de la singularité cassée par les discours totalisants.On pense à ce chant d’Hubert Haddad : Hochéa Meintzel, violoniste meurtri par un attentat, ayant perdu ses illusions, part en voyage et quitte tout ce qu’il aime. Lors de son périple, c’est la puissance des légendes communes et la redécouverte des premiers récits de l’histoire qui vont agir sur lui comme le « chant joyeux de la guérison, le chant précieux de la délivrance ».Ce que l’on nomme cantopoème, c’est la réunion du sens avec le « faire » (poiésis), le rétablissement du verbe agissant, propre à s’opposer au risque généralisé du repli, de l’individualisme, bref de l’isolement contemporain. Face à l’aspiration vers le deuil, le découragement voire vers la décadence, le cantopoème propose une réponse ; une littérature d’une forme inédite, qui allie la puissance des récits fondateurs avec les formes contemporaines de la cantologie. Le poème, humble fabrique, ainsi gagne en poïen, il démultiplie sa puissance, celle du verbe porté par le son. C’est insuffisant en soi et pourtant ce n’est pas rien, cette réponse apportée au défi d’aujourd’hui : celui de renouveler la voie/voix de la communauté de solitaires. Le cantopoème est l’une des réponses de la littérature à la menace totalitaire.Preuve en est cette autre assertion de M. Deguy, selon laquelle « la poésie comme l’amour risque tout sur des signes ». Elle est affaire d’échos, de correspondances baudelairiennes.Une observation du poète d’une « Histoire de bleu » va jusqu’à inaugurer le poème comme « le cérémonial de curieuses noces blanches » : « N’est-il pas curieux d’observer, à la suite des surréalistes, le rôle lyriquement opératoire de la rencontre ? Autrui m’ouvre le monde et me livre instantanément les clefs de moi-même. Celui ou celle dont j’ignore tout vient me faire don de mon espace et de ma figure. Autrui me rend visible et lisible à la fois.»Espérance du chant. Dans le chant. Espérance en l’homme, ainsi que le chante Nougaro sur les mots de Musset.Emprunté au jazz, le titre de ce disque d’ailleurs à lui-seul figure — après les notes cendrées de Celan — le sens de la présente recherche doctorale : retrouver « la note bleue ».Nous nous attacherons à arpenter le terrain d’une matière non révélée, en arpentant ses fondements, son état des lieux, ses enjeux en poésie contemporaine.D’une question : se pourrait-il que l’on doive notre besoin de chant au désir de reprendre la parole ? / In his treatise on poetry, Michel Deguy, to support his conviction that poetry is not solitary, came up with an idea that is both beautiful and realistic: "the stars have arrived!" Our epoch is experiencing an extreme risk: that of giving up the Ideal, an abandon whose expressions reside in a hollow discourse of a hope that is cut off from reality, in nihilism as much as in wishful thinking, in the indifference of the masses as much as in sectarian or terrorist propaganda discourse. In this light, the stars can provide us with something: today, words can still provide us with something. Poetry is concerned about the world. Even better: poetry is not alone (in this concern); it is the "common" part. In a fragmented world, which in turn fragments identities, poetry is a question of links. "Poetry is part of a world that it opens (…) and is between the various parts. In other words, according to Michaux, poetry can be found between the folds. Poetry is "life in the folds." A cantopoem, a tune, music in words: it is all in one and this unity created by the musicality of a poem assembles the pieces. What we call cantopoetry goes beyond a poem that is sung: it is an aptitude that is revived with a force of life, a sense, a dream. Modern personal tragedies are often the signature of the defeat of a symbol: that of the hope of peace among peoples and the singularity broken by a global discourse. One can think of Hubert Haddad's very beautiful novel which recounts the destiny of Hochéa Meintzel who was a violinist hurt by a terrorist attack and after becoming disillusioned, went on a trip and left everything he loved behind. During his trip, the power of folk legends and the rediscovery of the first written narratives will affect him like a "joyous song of healing, a precious song of relief." What one calls a cantopoem is the joining of the meaning with the "action" (poiesis), the reestablishment of verb that acts, likely to ward off the general risk of withdrawal, nihilism, individualism, in short, contemporary isolation. Facing the attraction for mourning, discouragement or even decadence, a cantopoem offers an answer: literature in a new form which reunites both the power of the founding narratives with the contemporary forms of cantology. The poem therefore acquires poïen, it increases its power, that of the verb carried by the sound. The cantopoem becomes a humble maker that creates a prodigious and unexpected effect: a sense maker, a conjunction of individuality with the foundations of the community and the singularity with the whole. This response to today's challenge is in itself insufficient and yet it is considerable: that of renewing the way(voie)/voice(voix) of the community of solitaries. A cantopoem is one of literature's answers to the totalitarian threat. The proof is in Michel Deguy's other assertion that "poetry like love risks everything on symbols". It is a question of echos, of Baudelairen Correspondences. And this other observation by the poet who wrote A “History of Blue” goes to the point of calling the poem as "the rite of […] strange white weddings": "Isn't it curious to observe, like the surrealists, the lyrically operative role of the meeting? Others expose the world to me and instantly give me with the keys to myself." Hope of the song. In the song. Hope in Man, as Nougaro sings with Musset's words. Borrowed from jazz terminology, the name of this record represents in itself – after the ashen notes of the poet Celan – the sense of this doctoral research: find the Blue Note again. We will seek to survey the field of a singular subject by identifying the foundations, by marking out its actual situation and by identifying its stakes in the field of contemporary poetry. One question: do we owe our need to sing to our desire to begin to take the floor again?

L’œuvre de Kierkegaard se présente sous une forme poétique, non seulement par les fictions qu’il produit, mais encore par les pseudonymes auxquels il donne la parole et qui confèrent aux textes les plus conceptuels l’apparence fictive d’un discours subjectif. La forme poétique n’est donc pas un jeu arbitraire. Elle répond aux exigences de la pensée de l’existence : une pensée subjective, car l’on n’existe pas dans l’abstraction, où il s’agit de se comprendre soi-même dans l’existence. Une pensée existentielle n’est pas un savoir objectif qui peut être transmis directement : elle nécessite une communication indirecte. Tel est le rôle de la forme poétique. Son emploi est donc essentiellement philosophique, et ne fait pas de Kierkegaard un poète. Du poète, il s’agit, au contraire, de dénoncer l’illusion, en particulier celle du romantique. Confondant la possibilité et la réalité, le poète plane au-dessus de sa propre existence. Il faut alors de l’ironie pour libérer l’individu d’une telle illusion et l’amener au commencement de la vie personnelle, d’une existence éthique. C’est pourquoi la forme poétique est, ici, ironique ; il s’agit de parler la même langue que ceux à qui l’on s’adresse, un langage esthétique, afin de les amener à une pensée véritable d’eux-même : tromper en vue du vrai. Fondée philosophiquement pour utiliser la possibilité, qui est sa forme, en vue de la réalité, qui est son horizon éthique, la poétique kierkegaardienne peut ainsi présenter à l’individu les déterminations dialectiques de l’existence, et l’ouvrir au passage de la possibilité à la réalité : un saut qualitatif, une décision qui n’appartient qu’à lui. Grâce à la forme poétique, la pensée subjective se fait maïeutique ; l’auteur s’efface pour laisser la place à celui dont parle la fiction et à qui elle s’adresse, celui que l’auteur veut éveiller à lui-même : l’individu singulier. / Kierkegaard uses a poetic form in its works, not only by the fictions he composes but also by the pseudonyms he makes speak, who give to the most conceptual texts the fictional appearance of a subjective speech. Thus, the poetic form is not an arbitrary game. It is an answer to the requirements of the thinking of existence, a subjective thinking, for one does not exist in abstraction : be understandable oneself in one’s own existence. An existential thought is not an objective knowledge, which can be given directly : it requires an indirect communication. Such is the role of the poetic form. It is essentially a philosophic employment, and does not make a poet of Kierkegaard. On the contrary, his works tend to denounce the poet’s delusion, especially of the Romantic. The poet confuses possibility with reality, and glide above his own existence. Irony is then needed to free the subject from his delusion, and lead him to the beginning of his personal life, an ethical existence. That’s why the poetic form of Kierkegaard’s works is ironic in itself, for it is to speak the langage of those whom the speech speaks to, an aesthetic langage, in order to lead them to a true thinking of themselves : deceive toward the truth. Philosophically founded to use possibility, which is its form, with the reality in mind, which is its ethical horizon, the kierkegaardian poetic is enabled to present to the individual the dialectical determinations of existence, and show him the passage from possibility to reality : a qualitative leap, as his own decision. Through the poetic, the subjective thinking appears to be maïeutics. The author disappears to hand over the place to the one whom the fiction talks about and whom it speaks to, the one who the author wants to awaken within himself : the Individual.

- English Vítězslav Nezval's Bulgarian Romance, or Dora Gabe and V. Nezval in Czech-Bulgarian Literary Connections I first heard about the personal encounters and relationship between the poets Dora Gabe and Vítězslav Nezval in the 90s at the Bulgarian Embassy in Prague. And the information was indeed proven to be true - not only had the poets known each other, they even collaborated on translations and inspired one another. The epistolary correspondence between Nezval and Gabe still bears witness to this. Their real- life romance eventually transitioned to their literary work. A substantial and more important fact is that the romance inspired several works by both - Nezval and Gabe. Perhaps the most interesting footprint comes in form of their joint translation of Gabe's auto- biographical prose work Dávno (Once upon a time), which she had primarily written in 1932, and Nezval's novel Jak vejce vejci (Cut from the same cloth) from 1933, although this is merely an indirect illustration of the work and the creative personality of Dora Gabe, a reflection of sorts. Dora Gabe met Nezval in the Autumn of 1931 at a memorial evening held for the passing of Thomas Alva Edison at the Vinohrady Theatre in Prague, during which Nezval's poem Edison was recited. The poet left a direct written testimony about...

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